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It is designed for full-range playing, with a wide stereo field. The Macro settings allow you to explore different articulations.",{"documentId":26,"name":27,"image_name":28,"bio":29,"band":30},"lvsl2vh71m7w8nycc0lbc3cn","Diego Tejeida","Diego_Tejeida.jpg","Diego Tejeida is a Mexican-born keyboardist, sound designer, and producer. His live performances around the world include tenures with Mike Portnoy’s Shattered Fortress (2017), Devin Townsend (2019-2020), and Haken (2009-2021).","Haken",{"documentId":32,"url":33},"pu0ep1r3pw0wmo2yvks0i7dd","https://audios.arturia.net/audios/master_cola_51f1e125a0.mp3",{"documentId":35,"title":36,"preset_description":37,"artist":38,"file":44},"r81hjexmxr7vrv1p8vi0w3bg","Just A Pattern","I really like the patch Just A Pattern\" as it's not your typical Memory V sound. It includes a lot of modulation, random triggered sample and hold, effects and the timbre can change quite significantly using the macros which are being adjusted in the recording. It's also just a cool and fun patch to play, especially along with a drum pattern.",{"documentId":39,"name":40,"image_name":41,"bio":42,"band":43},"u81lqcq4316zlx1fxdlc2p31","Drew Schlesinger","drew_schlesinger.jpg","I've been a professional sound and preset developer since the mid 1980's starting with the Casio CZ-101. Over the last 40+ years I've created internal patches for more than 240 synth and effects products from over 35 companies in both hardware and software.",null,{"documentId":45,"url":46},"rvh9l2wwrjdl4bvg58j102w5","https://audios.arturia.net/audios/Just_A_Pattern_81b8ead530.mp3",{"documentId":48,"title":49,"preset_description":50,"artist":51,"file":56},"t5ot2u6b0hid6ofr85fsqbtr","Analog soul","Analog Soul captures what I love most about this instrument. It’s a classic ’80s polyphonic key\nsound with a strong focus on expression. Velocity, polyphonic aftertouch, and MPE all shape the\ntone, especially through Drive and filter modulation, allowing the sound to become richer and\nmore intense as you choose to push it.",{"documentId":52,"name":53,"image_name":54,"bio":55,"band":43},"o7ufqmhqi5u6asi2azn5alru","Gustavo Bravetti","gustavo_bravetti.jpg","Always in love with music and technology, musician, producer and live performer, Gustavo started programming synths and computers in the late 80’s. Nowadays he fulfills his childhood dreams.",{"documentId":57,"url":58},"r3k65azcpaz3m735ezz6r64z","https://audios.arturia.net/audios/Analog_Soul_edbcb27db3.mp3",{"documentId":60,"title":61,"preset_description":62,"artist":63,"file":68},"m12f3i91va5uakj14fy6txsx","Sonata Arpeggio","Two presets stand out as my favorites: the Sonata Arpeggio and the Both Sides bass. They sound incredible—rich, deep, and distinctly analog. My goal was to achieve a timeless electronic character, shaped by the filter harmonics of Memory V and enhanced with subtle multiband compression.",{"documentId":64,"name":65,"image_name":66,"bio":67,"band":43},"ff799wghdkrn0wqyxa14vqai","Konstantin Klem","konstantin.jpg","I’m a composer and sound designer with over 15 years of experience in music production and sound library creation. I love diving deep into new plugins and synthesizers. My work is heavily shaped by classical music, while in the electronic realm I draw inspiration from Eduard Artemyev, Didier Marouani, and Vangelis.",{"documentId":69,"url":70},"bjjzjwyi14e8drzi1wxlz0gk","https://audios.arturia.net/audios/sonata_arpeggio_28153400d9.mp3",{"documentId":72,"title":73,"preset_description":74,"artist":75,"file":80},"jvl6usgbcxc9hz3hyzfp69if","Muted Emotions","Muted Emotions is a sound that takes the Memory V engine strengths and takes it into the cinematic world, it uses a slow growing filter move to create anticipation and tension but stays understated, good for a moment of quiet contemplation or sadness or regret. ",{"documentId":76,"name":77,"image_name":78,"bio":79,"band":43},"ww3euhsru2p6bmndjx1vug7m","Sonar Traffic","sonar_traffic.jpg","My name is Allert Aalders, I run Sonar Traffic electronic music studio in Utrecht, The Netherlands. I was a member of underground ambient techno act Human Beings in the Nineties. These days I do a lot of sound design, mainly presets and samples for the likes of Arturia, Native Instruments, Steinberg, Fabfilter, Korg, Kilohearts etc etc but also sound effects for trailers via The Solos in Amsterdam.",{"documentId":81,"url":82},"zra9mefb6ny73f6wjnm0q6cb","https://audios.arturia.net/audios/Muted_Emotions_4114212d76.mp3",{"documentId":84,"title":85,"preset_description":86,"artist":87,"file":92},"w9hu2j871eeejld2m7nm2z5d","We'll Meet Again","I love a sound that's really playable and expressive across the entire keyboard. We'll Meet Again is a very addictive sound that I could write entire songs with. It feels like it's own instrument and is highly editiable using the macros and mod wheel. It is very suitable to many genres from fusion to synthwave and it's secret is the level of detail in velocity assignments.",{"documentId":88,"name":89,"image_name":90,"bio":91,"band":43},"avhl22d7b67htizkw5urqgp4","Tim Mantle","Tim_Mantle.jpg","By the time I discovered what a synthesizer was, I was already 21 years old. This discovery was thanks in part to Arturia.\nTen years later I had my first professional work programming factory sounds, for sysnthesizers.\nSince then I've worked on many hardware and software synthesizer projects.\nI have only just returned after a 5 year break, exploring other campaigns. Now working with Arturia, it feels like my systhesizer journey has come full circle.",{"documentId":93,"url":94},"qscsh9ktfdkqqjcqcopuz0vy","https://audios.arturia.net/audios/We_ll_meet_again_73a61368f7.mp3",[96],{"documentId":97,"quote":98,"updatedAt":99,"locale":100},"n2ftlscc2sunzgpa3gq9y7xu","The Memory V has successfully recreated the imperfections and controlled chaos that make working with an analog instrument such an enjoyable experience. The overdriving mixer, the wild Voice Modulation section, and the dispersion features make every performance unique. \nEvery time I get a new synth, I like to recreate sounds I know by heart. Through this process, the unique traits of the instrument reveal themselves, and those are the features I explore first. The Voice Modulation section and the sync options are definitely what make this instrument special to me.","2026-05-20T08:13:05.283Z","en",[102],{"documentId":103,"quote":104,"updatedAt":105,"locale":100},"erjb3aqd18vmmma78xhnp5w9","The features and sound of the Memory V really harken back to the original with the three oscillators and various up front modulation routings, and it has a great vintage analog sound. That said, the Advances features that are now part of Arturia's software synths really open the gates to some exceptionally complex sounds via extensive modulation to many destinations. Add to that the multi-effects and you end up with a really powerful tool for both classic, modern and new sounds.\n\nMy approach to the Memory V was two fold; first, to create some very playable, dynamic and classic sounds that were focused on the basic instruments design and reminded users of the original instrument's tonality. The second was to expand into other sonic territories using the additional Advanced capabilities and  come up with some more modern and highly modulated patches that you'd not expect from the instrument which it is clearly capable of doing. ","2026-05-20T08:14:26.604Z",[107],{"documentId":108,"quote":109,"updatedAt":110,"locale":100},"nptwe7j355mcns76ofy9wo4n","The strength of Memory V lies in its analog fidelity. Continuously running oscillators and carefully\nmodeled filter and envelope behavior make a clear difference in the final sound. Combined with\nmodern polyphonic expression like aftertouch and MPE, it delivers deeply expressive, soulful keys\nand pads. The Drive is a standout feature, adding rich warmth and becoming even more powerful\nwhen modulated polyphonically in real time.\n\nMy approach focused on exploring the instrument’s expressiveness. I also spent a lot of time\nexperimenting with the Voice Modulation section, using OSC 3 at audio rate to introduce subtle\nmovement and new harmonic colors through crossmod, filter FM, and soft AM. The Sync 1 to 3\nmode came in especially handy, as when combined with Voice Mod it keeps crossmod musical\nand in tune!","2026-05-20T08:15:38.053Z",[112],{"documentId":113,"quote":114,"updatedAt":115,"locale":100},"glotc9qj8t348v7d7h716utp","I loved how easily accessible the Drive and Vintage knobs are. The Memory V filter is already rich in harmonics, but with a touch of drive and vintage color, it becomes incredibly characterful and full-bodied;\n    \nMy main focus was on the Memory V filter and the ability to modulate voices using the third oscillator. I love 80s music, and I drew some ideas from that era.","2026-05-20T09:12:25.195Z",[117],{"documentId":118,"quote":119,"updatedAt":120,"locale":100},"qcl27jdib3pyq16rlbwhea7p","Memory V captures the essence of the old school machine: big and bold and warm. It then let’s you expand on that with todays flexible modulations and a very very inspiring arpeggiator. Being able to dial in the amount of aging allows it to be used from tight to unstably detuned in a lovely way.\n\nI used the modelled engine and aging parameters to create authentic 80’s character sounds but also to introduce more modern style intentional detune. I was looking for sounds that evoke emotions from sadness to energetic arousal. I especially liked using the Voice Modulation parameters to create extra expression and bite.","2026-05-22T09:54:58.352Z",[122],{"documentId":123,"quote":124,"updatedAt":125,"locale":100},"mrum4zycjwmtu5rwgfq3cnhv","To be invited to contribute to the Memory V is incredibly serendipitous for both parties as the experience of using the hardware was still fresh in my mind. \nI was immediately struck by the quality of tone coming from a simple default/initial patch, before I even started programming. This fundamental sound is what I’m looking for in any synthesizer and to hear it from software is very impressive. If we strip back the Memory V, we find that oscillator three is the key to this instrument. The routing to and from this oscillator provides many wonderful nuances, faithful to the original sound of this instrument. \nThe Mixer section is very important, the sound can get hot very quickly, but this is no downside, the saturation available between the three oscillators gives incredible scope for sound crafting to taste. \nMoving over to the Advanced section, the level of mapping is incredible - it’s a question of how deep do you want to go? Most ‘problems’ with a sound can be solved here, so it’s a sound designer's dream to be able to tweak the detail and smooth out anything harsh or distracting.\nI must confess that my sound design process tends to stay the same across all projects. However, depending on the type of synthesizer, I will lean towards classic use cases of the instrument. So in the case of the Memory V, I stayed very close to classic 80’s sounds. 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